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After spending hours and hours laboring "religiously" over T2T, I feel
compelled to respond.
Regarding Bob's comment about EDLs for T2T: On the 8:8:8's (DV
"classic" too) loading in an EDL is always best, however not always
or accessible. I have found that most commercial clients arrive in T2T only
fix "pieces" of the spot. They're in a hurry, often only the post producer or
editor, and wanna get in and get out. Besides, they've already spent bundle
of hours (and $) coloring in telecine, so your best bet is to engage the
detector for the areas needed and then turn it off. Your EDL list is great
but by the time you load it, check it, dump the "phantom" events, I'm ready
layback. But, if you're "recreating", either have that EDL and be prepared to
delete events or just be patient and "step" through. Xanex and The Dead
works for me...
Loading an EDL for long form is also preferable, however not necessary.
I like to take the time to view the program with the client (DP) prior to
correcting. My marking is done then. The DV scene detector on the Classic
works great (in my room!-any format) . Using the DV varispeed at 6 fps for
edits works quite well...seeing fluid corrections rather than delayed ones.
I havn't had much luck with the jog ball, although other colorists find it
Here at CP, tape to tape is done from ALL formats, creating all sorts
of delays and sluggish scene detection. All these can be remedied within
DV VTR "info" configurations, sensitivity and offsets. We've found the right
combinations that work well for our machines, I guess. I can't speak for
all D1's but our SONYs are...adaquate. If you ever stepped a VPR3 or SONY 2K
you know what I mean. DBSP control is far superior to the D1, I've noticed
Complete Post, Hollywood
Subj: T2T EDL
Date: 95-03-08 17:58:58 EST
From: telecine at xyzoom.alegria.com
To: telecine at xyzoom.info.com
CC: bt at univid.com